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Cast

Natalie Wood
as Maria

Richard Beymer
as Tony

Rita Moreno
as Anita

George Chakiris
as Bernardo

Russ Tamblyn
as Riff

Simon Oakland
as Lt. Schrank

William Bramley
as Officer Krupke

Bill Bramley
as Off. Krupke

Ned Glass
as Doc

John Astin
as Glad Hand

Penny Santon
as Mme. Lucia

Tucker Smith
as Ice

Tony Mordente
as Action

Eliot Feld
as Baby John

David Winters
as A-Rab

Burt Michaels
as Snowboy

Robert Banas
as Joyboy

Scooter Teague
as Big Deal

Tommy Abbott
as Gee-Tar

Harvey Hohnecker
as Mouthpiece

David Bean
as Tiger

Sue Oakes
as Anybodys

Gina Trikonis
as Graziella

Carole D'Andrea
as Velma

Jose De Vega
as Chino

Bert Michaels
as Snowboy

Jay Norman
as Pepe

Gus Trikonis
as Indio

Robert Thompson
as Luis

Anthony Teague
as Big Deal

Larry Roquemore
as Rocco

Thomas Abbott
as Gee-Tar

Jaime Rogers
as Loco

Eddie Verso
as Juano

Andre Tayir
as Chile

Nich Covvacevich
as Toro

Rudy Del Campo
as Del Campo

Suzie Kaye
as Rosalia

Yvonne Othon
as Consuelo

Joanna Miya
as Francisca

Jo Anne Miya
as Francisca

Jimmy Bryant
as Tony [singing]

Harvey Hobnecker
as Mouthpiece

Marni Nixon
as Maria [singing]

John Zaccaro

Johnny Green

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News & Interviews for West Side Story

Critic Reviews for West Side Story

Audience Reviews for West Side Story

• Oct 19, 2013

  The story is <i>Romeo and Juliet</i> set to music. The film's highlights are the music and songs that give resonance to Shakespeare's classic tale and the wonderfully arresting performance by Natalie Wood. What I don't like about the film is the choreography. Set against the rough and tumble backdrop of New York City slums, these dancers are performing balletic and graceful moves the majesty of which belie the film's themes and social and economic realities. In and of themselves, the dances are fun and enticing, but there is a true disconnect between them and the story. Here is a thought that is as yet only a germ in my brain: I find it odd that the white characters' complaints about their environment are social and economic -- big world issues -- whereas the Latinas embrace the social and economic realities of American life. They feel honored to be here despite the racial realities with which they are faced. It is as though the film, in a strain of racism, won't permit its minority characters any reasonable revolt. As I said, I think I need to develop this thought more, but I'm still convinced there's something fishy about this film vis a vis race relations. Overall, it's fun and good, but it's certainly not perfect.
  Jim H Super Reviewer
• Aug 21, 2013

  It's a little weird. It's a classic, for sure, but the ballet-dancing, overacting, near-gangbangers are just a bit absurd. Vivid and frenetic choreography and music (with a few oversyncopated atonal hot messes like "Something's Coming" and "A Boy Like That/I Have a Love"), but the Puerto Rican accents sometimes slip, and the "brownface" make-up is disturbingly noticeable, especially in Rita Moreno's case. She, George Chakiris, and even Jose De Vega as Chino are fantastic, but I'm disappointed that the leads, Richard Beymer and Natalie Wood, had to be dubbed by what seemed like professional but deliberately handicapped singers.
  Alice S Super Reviewer
• May 10, 2013

  In 1962, the film version of the popular musical "West Side Story" won not one, not two, but ten academy awards. The American Film Institute placed it second on it's list of the greatest film Musicals of all Time, right after "Singin' In the Rain" (and above The Wizard of Oz). Obviously a film of this caliber doesn't need me or my praise, but I will share my opinion regardless. The premise of the film (and I assume of the stage version) is simple: what if Romeo and Juliet took place in modern (1961) New York, and instead of rival families separating the two lovers, it was rival gangs? The Jets vs. the Sharks, Americans vs. Puerto Ricans, white vs. hispanic, the barriers separating the two factions are distinct and seemingly uncrossable. So Maria (Natalie Wood) and Tony (Richard Beymer) find themselves falling in love at first sight when they meet at a dance, oblivious to the world around them. I'm sure the film version has technical advantages over the stage version, and the "first meeting" scene is a perfect example of this. It's a great piece of direction and artistry, undeniable artistry. Whatever your feelings about singing, prancing gang members, it would be impossible to ignore the artistry of the film on display. Add to this musical numbers that have entered into the cultural lexicon, and you have a near flawless film.
  Devon B Super Reviewer
• Jan 02, 2013

  The singing and dancing make this story far from believable. It also probably is more suitable for stage than film. And yet it works. The audience gets sucked in to believe the unbelievable mainly due to Wood and Beymer.
  

  John B Super Reviewer

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